One of the most inspiring MPE clips of the month contains no computer at all. Performer Thomas Kessler published a five-minute ambient improvisation pairing the Expressive E Osmose with the GS Music e7 analog polysynth, and MATRIXSYNTH shared it on October 4. It is a neat demonstration of what a modern MPE controller can do outside the DAW.
Two roles for one controller
The performance is split in two parts, and the Osmose plays a different role in each.
In part one, a sound generated inside the Osmose is sent into the external audio input of the e7. The analog signal path then processes it, so the Osmose acts as a sound source and the e7 as a colouring filter and amplifier stage.
In part two, the roles flip. The Osmose becomes a pure MPE controller, playing an expressive patch on the e7 itself. The description notes that velocity, pressure and continuous MPE control shape dynamics, timbre and articulation, which turns the patch into a living instrument rather than a static preset.
A fully live signal chain
Everything is played live, with no sequences, no backing tracks and no computer. The chain runs from the Osmose to the e7, then through an Effectrode Tube Drive, a Strymon El Capistan and a Strymon Cloudburst. It is a classic ambient pedal board: tube-style warmth, tape-style echo and a large reverb wash.
That chain also illustrates a useful point about MPE and analog hardware. Expression does not stop at the synth. Because the performer's pressure and slide movements change the source signal, the pedals downstream react to the changes in level and tone. We discuss this in more depth in our article on per-note effects and where MPE expression stops.
Why dawless MPE is growing
Players are increasingly drawn to computer-free setups for a few reasons:
- Stability: no operating system updates, no audio driver issues
- Immediacy: switch on, plug in and play
- Focus: fewer menus, more gesture
- Stage presence: hardware is simply easier to perform with
MPE suits this approach well, because the controller carries the performance data and the sound engine only has to respond. If you are planning a similar rig, our dawless MPE guide walks through controller-to-synth connections, and our look at building an MPE touring rig covers the live side.
The e7 and the GS Music catalogue
The e7 comes from GS Music, a company that has been active in the expressive-instrument space. You can browse its range in the GS Music synth store. The video page does not list technical specifications for the e7, so check the manufacturer's site for details such as voice count, MPE channel handling and pricing before drawing conclusions about how it would fit your own setup.
Tips if you want to try something similar
- Check MPE mode on both devices. Set the controller to send MPE and the synth to receive it, using a matching channel range.
- Match the pitch-bend range. A mismatch is the most common reason an MPE patch sounds out of tune. Our pitch bend range fix explains how to solve it.
- Mind the signal level. If you feed an external audio input, start with low levels and increase gradually to avoid clipping the analog stage.
- Record the MIDI where possible. Even if the performance is computer-free, running a recorder in parallel preserves your expression data.
The takeaway
The clip is a reminder that MPE is not just a plugin feature. Pairing an expressive controller with an analog polysynth and a few pedals produces something genuinely playable, and it requires nothing more than cables. If you enjoy ambient textures, watch the performance and think about which of your own instruments could play a similar double role.